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France (France) (search for this): chapter 22
that word to represent a certain rather melodramatic self-consciousness, a tender introspection in the region of the heart, a kind of studious cosseting of one's finer feelings. Perhaps it is not generally recognized how much more abundant was this sort of thing forty years ago than now, and how it moulded the very temperaments of those who were born into it, and grew up under it. Byron had as much to do with creating it as any one in England; but more probably it goes back to Rousseau in France; hardly, I should think to Petrarch, to whom Lowell is disposed to attribute it, and who certainly exerted very little influence in the way of sentimentality on his friend Chaucer. But the Byronic atmosphere certainly spread to Germany, as may be seen by the place conceded to that poet in Goethe's Faust; although Goethe's Werther, and Schiller's Die Rauber showed that the tendency itself was at one time indigenous everywhere. In England, Bulwer and the younger Disraeli aimed to be prose By
Fane (search for this): chapter 22
nd doubtless nobler form; but the die-away period had its own fascination—the period when even the military bands marched to the plaintive strains of Mrs. Norton's Love Not. In prose literature, as has been said, Bulwer and Disraeli best represented that epoch. The two fashionable novels, par excellence, of a whole generation, were Pelham and Vivian Grey. In the latter, all the heights of foppery and persiflage did but set off what was then regarded as the unsurpassable pathos of Violet Fane's death; and though the consummate dandyism of the companion book had no such relief, yet Bulwer amply made up for it by the rivers of tears that were shed over his Pilgrims of the Rhine. Not a young lover of the period who had acquired a decent sentimental education, but was sure to put a flower between the leaves of that work where the author says: Is there one of us who has not known a being for whom it would seem none too wild a fantasy, to indulge such a dream? Yes, yes, Bulwer! inter
Lemuel Barker (search for this): chapter 22
ent that swept through Europe and America half a century ago, will probably always have a touch of sentimentalism in their sympathies, a little exuberance somewhere, even when the outside is hard or constrained; and even those who belong to a later school may show traces of that which prevailed when they were in their cradles, as Howells's volume of poems opens with the sentimental and even beautiful strains of Forlorn. This, then, was the path through which he came to Silas Lapham and Lemuel Barker; and very likely, when Mr. Henry James's biography comes to be written, he may yet be found to have begun by taking tremulous footsteps in some such romantic path. After all, sentimentalism is a thing immortal, for it represents the slight overplus and excess of youthful emotion; it bears the same relation to the deeper feelings of later life that the college contests of the football ground bear to life's conflicts. Tennyson, who began by representing it, and then, with a hand far fine
J. W. Goethe (search for this): chapter 22
in the way of sentimentality on his friend Chaucer. But the Byronic atmosphere certainly spread to Germany, as may be seen by the place conceded to that poet in Goethe's Faust; although Goethe's Werther, and Schiller's Die Rauber showed that the tendency itself was at one time indigenous everywhere. In England, Bulwer and the yGoethe's Werther, and Schiller's Die Rauber showed that the tendency itself was at one time indigenous everywhere. In England, Bulwer and the younger Disraeli aimed to be prose Byrons; and in Moore and Mrs. Hemans, followed by Mrs. Norton and L. E. L., we see the sentimental spirit in successive degrees of dilution. All the vocal music of forty or fifty years ago —when the great German composers were but just beginning to make their power felt in this country—was of awas expressed, for Lamartine was then much read, and even his travels in the East were saturated with it; and so were the writings of Jean Paul, who then rivalled Goethe in the affections of the newly enrolled students of German, his Siebenkas which avowedly records the life, death, and wedding of a hero who deliberately counterfe
W. D. Howells (search for this): chapter 22
ly such, but if that early period had emotional freedom and epanchement, our old age will have the same. Those who were in the current of the transcendental movement that swept through Europe and America half a century ago, will probably always have a touch of sentimentalism in their sympathies, a little exuberance somewhere, even when the outside is hard or constrained; and even those who belong to a later school may show traces of that which prevailed when they were in their cradles, as Howells's volume of poems opens with the sentimental and even beautiful strains of Forlorn. This, then, was the path through which he came to Silas Lapham and Lemuel Barker; and very likely, when Mr. Henry James's biography comes to be written, he may yet be found to have begun by taking tremulous footsteps in some such romantic path. After all, sentimentalism is a thing immortal, for it represents the slight overplus and excess of youthful emotion; it bears the same relation to the deeper feelin
Schiller (search for this): chapter 22
ere born into it, and grew up under it. Byron had as much to do with creating it as any one in England; but more probably it goes back to Rousseau in France; hardly, I should think to Petrarch, to whom Lowell is disposed to attribute it, and who certainly exerted very little influence in the way of sentimentality on his friend Chaucer. But the Byronic atmosphere certainly spread to Germany, as may be seen by the place conceded to that poet in Goethe's Faust; although Goethe's Werther, and Schiller's Die Rauber showed that the tendency itself was at one time indigenous everywhere. In England, Bulwer and the younger Disraeli aimed to be prose Byrons; and in Moore and Mrs. Hemans, followed by Mrs. Norton and L. E. L., we see the sentimental spirit in successive degrees of dilution. All the vocal music of forty or fifty years ago —when the great German composers were but just beginning to make their power felt in this country—was of an intensely sentimental description; delightfully
Benjamin Disraeli (search for this): chapter 22
inging afforded a training in the emotional such as no experience of to-day can give. Their strength would now be considered a weakness; the exquisite German songs that now prevail, while far higher in musical quality, offer human feeling itself in a purer, simpler, and doubtless nobler form; but the die-away period had its own fascination—the period when even the military bands marched to the plaintive strains of Mrs. Norton's Love Not. In prose literature, as has been said, Bulwer and Disraeli best represented that epoch. The two fashionable novels, par excellence, of a whole generation, were Pelham and Vivian Grey. In the latter, all the heights of foppery and persiflage did but set off what was then regarded as the unsurpassable pathos of Violet Fane's death; and though the consummate dandyism of the companion book had no such relief, yet Bulwer amply made up for it by the rivers of tears that were shed over his Pilgrims of the Rhine. Not a young lover of the period who had
Henry James (search for this): chapter 22
ica half a century ago, will probably always have a touch of sentimentalism in their sympathies, a little exuberance somewhere, even when the outside is hard or constrained; and even those who belong to a later school may show traces of that which prevailed when they were in their cradles, as Howells's volume of poems opens with the sentimental and even beautiful strains of Forlorn. This, then, was the path through which he came to Silas Lapham and Lemuel Barker; and very likely, when Mr. Henry James's biography comes to be written, he may yet be found to have begun by taking tremulous footsteps in some such romantic path. After all, sentimentalism is a thing immortal, for it represents the slight overplus and excess of youthful emotion; it bears the same relation to the deeper feelings of later life that the college contests of the football ground bear to life's conflicts. Tennyson, who began by representing it, and then, with a hand far finer than that of Dickens, helped to guid
Geoffrey Chaucer (search for this): chapter 22
Perhaps it is not generally recognized how much more abundant was this sort of thing forty years ago than now, and how it moulded the very temperaments of those who were born into it, and grew up under it. Byron had as much to do with creating it as any one in England; but more probably it goes back to Rousseau in France; hardly, I should think to Petrarch, to whom Lowell is disposed to attribute it, and who certainly exerted very little influence in the way of sentimentality on his friend Chaucer. But the Byronic atmosphere certainly spread to Germany, as may be seen by the place conceded to that poet in Goethe's Faust; although Goethe's Werther, and Schiller's Die Rauber showed that the tendency itself was at one time indigenous everywhere. In England, Bulwer and the younger Disraeli aimed to be prose Byrons; and in Moore and Mrs. Hemans, followed by Mrs. Norton and L. E. L., we see the sentimental spirit in successive degrees of dilution. All the vocal music of forty or fifty
J. R. Lowell (search for this): chapter 22
c self-consciousness, a tender introspection in the region of the heart, a kind of studious cosseting of one's finer feelings. Perhaps it is not generally recognized how much more abundant was this sort of thing forty years ago than now, and how it moulded the very temperaments of those who were born into it, and grew up under it. Byron had as much to do with creating it as any one in England; but more probably it goes back to Rousseau in France; hardly, I should think to Petrarch, to whom Lowell is disposed to attribute it, and who certainly exerted very little influence in the way of sentimentality on his friend Chaucer. But the Byronic atmosphere certainly spread to Germany, as may be seen by the place conceded to that poet in Goethe's Faust; although Goethe's Werther, and Schiller's Die Rauber showed that the tendency itself was at one time indigenous everywhere. In England, Bulwer and the younger Disraeli aimed to be prose Byrons; and in Moore and Mrs. Hemans, followed by Mrs.
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